| Titre : | PARKETT N°88 -2011 / THE PARKETT SERIES WITH CONTEMPORARY ARTISTS : STURTEVANT ANDRO WEKUA KERSTIN BRATSCH PAUL CHAN | | Type de document : | texte imprimé | | Auteurs : | Collectif, Auteur | | Editeur : | PARKETT | | Année de publication : | 2011 | | Importance : | 216 P | | Présentation : | couv. coul., illus. coul. et noir&blanc | | Format : | 25,5 CM | | ISBN/ISSN/EAN : | 6068 | | Prix : | 30 € | | Langues : | Allemand (ger) Langues originales : Anglais (eng) | | Catégories : | 3. Culture:3.45 Arts:Style artistique:Art contemporain
| | Index. décimale : | 700 Les arts. Beaux arts et arts décoratifs | | Note de contenu : | Introduction
One might say that the current cover of Parkett flaunts vitality—but of what kind? What is intended? On one hand, movement, pulsating activity, the inability to hang on, and the impact of coming to a sudden halt; on the other, counterfeit movement and hyperactivity: these all play a crucial role in the work of the artists presented in this issue.
Kerstin Brätsch—it is her work, done in collaboration with Adele Röder, that is seen on the cover—produces pictures and products that mimic the excitement and colorful excesses of consumerism and yet clearly take their cue from art history, while Sturtevant, our second collaboration artist, declares that “My pieces reflect our CyberWorld of excess, of fetters, transgression, and dilapidation.
In his cycle THE 7 LIGHTS, Paul Chan shows the things of this world gently floating overhead, which leads Boris Groys to draw an illuminating conclusion: he contrasts their vertical escape with the horizontal movement of progress in the history of humankind.
The main protagonist in Andro Wekua’s universe is memory; it is aglow in colors all its own. But the poisonous, cloying presence of an irrevocable past is rudely arrested—between dream and trauma, repulsion and longing. Speaking about Wekua’s recent work, Douglas Fogle trenchantly notes that “what’s unveiled is a crime scene of sorts” like “an empty stage where everybody is waiting for something to happen.”
In her insert, Silke Otto-Knapp literally “parades” movement. The same motive of a group of dancers, its repetition underscored by minimal modifications in color, is multiplied and paradoxically generates motion.
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PARKETT N°88 -2011 / THE PARKETT SERIES WITH CONTEMPORARY ARTISTS : STURTEVANT ANDRO WEKUA KERSTIN BRATSCH PAUL CHAN [texte imprimé] / Collectif, Auteur . - [S.l.] : PARKETT, 2011 . - 216 P : couv. coul., illus. coul. et noir&blanc ; 25,5 CM. ISSN : 6068 : 30 € Langues : Allemand ( ger) Langues originales : Anglais ( eng) | Catégories : | 3. Culture:3.45 Arts:Style artistique:Art contemporain
| | Index. décimale : | 700 Les arts. Beaux arts et arts décoratifs | | Note de contenu : | Introduction
One might say that the current cover of Parkett flaunts vitality—but of what kind? What is intended? On one hand, movement, pulsating activity, the inability to hang on, and the impact of coming to a sudden halt; on the other, counterfeit movement and hyperactivity: these all play a crucial role in the work of the artists presented in this issue.
Kerstin Brätsch—it is her work, done in collaboration with Adele Röder, that is seen on the cover—produces pictures and products that mimic the excitement and colorful excesses of consumerism and yet clearly take their cue from art history, while Sturtevant, our second collaboration artist, declares that “My pieces reflect our CyberWorld of excess, of fetters, transgression, and dilapidation.
In his cycle THE 7 LIGHTS, Paul Chan shows the things of this world gently floating overhead, which leads Boris Groys to draw an illuminating conclusion: he contrasts their vertical escape with the horizontal movement of progress in the history of humankind.
The main protagonist in Andro Wekua’s universe is memory; it is aglow in colors all its own. But the poisonous, cloying presence of an irrevocable past is rudely arrested—between dream and trauma, repulsion and longing. Speaking about Wekua’s recent work, Douglas Fogle trenchantly notes that “what’s unveiled is a crime scene of sorts” like “an empty stage where everybody is waiting for something to happen.”
In her insert, Silke Otto-Knapp literally “parades” movement. The same motive of a group of dancers, its repetition underscored by minimal modifications in color, is multiplied and paradoxically generates motion.
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PARKETT N°88 -2011 / THE PARKETT SERIES WITH CONTEMPORARY ARTISTS / Collectif